2367.Die Komische Oper. Ed. Hans-Jochen Genzel.Berlin: Nicolai, 1997. 239p.
ISBN 3-8758-4656-7. ML1729.8 .B53 K655.
Consists of 44 popular-style essays by various authors, including Walter
Felsenstein. Chronology, 1946–1997, with casts; tour appearances of the com-
pany, 1949–1997; fine illustrations. Name and title index.See also #299 and #300.
Berlin: Deutsche Oper Berlin
2368.Die Deutsche Oper Berlin. Ed. Gisela Huwe. Berlin: Quadriga-Verlag Severin,- 341p. ISBN 3-88679-111-4. ML1729.8 .B53 D525.
Popular essays by various writers, with fine illustrations and a useful chronol-
ogy of the theater, 1961–1984, with names of principals. No bibliography;
name index.
2369.Dreissig Jahre Deutsche Oper Berlin, 1961–1991.Berlin: Hessling, 1962. 519p.
Not examined. It is a sequel to another work by the same publisher, not avail-
able for examination: Werner Bollert, 50 Jahre Deutsche Oper Berlin, 7 No-
vember 1912–7 November 1962(1962).
The other German cities are now taken up in alphabetical order.
Bayreuth
The city’s famous venue is the Richard-Wagner Festspielhaus, opened in 1876, closed
in 1944, and reopened under Wieland Wagner in 1951. The current director is Wolf-
gang Wagner, grandson of Richard Wagner.
- Karbaum, Michael. Studien zur Geschichte der Bayreuther Festspiele (1876–
1976).Regensburg: Bosse, 1976. 106p. ISBN 3-7649-2060-2. ML410 .W15
K18.
A thorough, footnoted history of the festival, with pertinent documents
reprinted. Bibliography of about 50 items, no index. - Skelton, Geoffrey. Wagner at Bayreuth.2nd ed. London and New York: White
Lion, 1976. 251p. Reprint, New York: Da Capo, 1983. ISBN 0-306-76157-2.
ML410 .W2 S55.
A popular history, without notes. Useful list of productions, singers, and their
roles, 1876–1975. Bibliography of about 50 entries, expansive index of names
and titles. - Spotts, Frederic. Bayreuth: A History of the Wagner Festival.New Haven,
Conn.: Yale U.P., 1994. x, 334p. ISBN 0-300-05777-6. ML410 .W2 S6.
The standard English history. Deals with Wagner’s vision and plans and how
they were fulfilled; the Wagner family—Cosima, Siegfried, Wolfgang,
Winifred, and (the hero) Wieland—and their political adventures; singers,
directors, conductors, “kings, kaisers, Hitler and Goebbels, and American sol-
diers in 1945.” Great detail on the productions and reception. Emergence of
442 Opera